Cinema has never been “silent”. From the very first steps of “moving pictures”, music and cinema have shared a common pathway. However, despite their direct interconnection, classical approaches in film studies adopt a visu-centric analysis of films, often understating the study of music and sound, in general.
In his book, (ethno)musicologist Nick Poulakis suggests a critical “cinematic musicology”, through which it is possible to understand the deeper meanings of films. Interpretive examples of modern Greek cinema highlight the distinctiveness of the role of music within the films’ audiovisual context.